THEORY_Aesthetic as Science of Expression and General Linguistic

INTUITION AND EXPRESSION

Intuitive knowledge--Its independence in respect to the intellect--

Intuition and perception--Intuition and the concepts of space and

time--Intuition and sensation--Intuition and association--Intuition

and representation--Intuition and expression--Illusions as to their

difference--Identity of intuition and expression.

INTUITION AND ART

Corollaries and explanations--Identity of art and of intuitive knowledge--

No specific difference--No difference of intensity--Difference extensive

and empirical--Artistic genius--Content and form in Aesthetic--Critique

of the imitation of nature and of the artistic illusion--Critique of art

conceived as a sentimental, not a theoretic fact--The origin of Aesthetic,

and sentiment--Critique of the theory of Aesthetic senses--Unity and

indivisibility of the work of art--Art as deliverer.

III

ART AND PHILOSOPHY

Indissolubility of intellective and of intuitive knowledge--Critique

of the negations of this thesis--Art and science--Content and form:

another meaning. Prose and poetry--The relation of first and second

degree--Inexistence of other cognoscitive forms--Historicity--Identity

and difference in respect of art--Historical criticism--Historical

scepticism--Philosophy as perfect science. The so-called natural

sciences, and their limits--The phenomenon and the noumenon.

HISTORICISM AND INTELLECTUALISM IN AESTHETIC

Critique of the verisimilar and of naturalism--Critique of ideas in

art, of art as thesis, and of the typical--Critique of the symbol and

of the allegory--Critique of the theory of artistic and literary

categories--Errors derived from this theory in judgments on art--

Empirical meaning of the divisions of the categories.

ANALOGOUS ERRORS IN HISTORY AND IN LOGIC

Critique of the philosophy of History--Aesthetic invasions of Logic--

Logic in its essence--Distinction between logical and non-logical

judgments--The syllogism--False Logic and true Aesthetic--Logic

reformed.

THEORETIC AND PRACTICAL ACTIVITY

The will--The will as ulterior grade in respect of knowledge--Objections

and explanations--Critique of practical judgments or judgments of

value--Exclusion of the practical from the aesthetic--Critique of

the theory of the end of art and of the choice of content--Practical

innocence of art--Independence of art--Critique of the saying: the

style is the man--Critique of the concept of sincerity in art.

VII

ANALOGY BETWEEN THE THEORETIC AND THE PRACTICAL

The two forms of practical activity--The economically useful--

Distinction between the useful and the technical--Distinction between

the useful and the egoistic--Economic and moral volition--Pure

economicity--The economic side of morality--The merely economical and

the error of the morally indifferent--Critique of utilitarianism and

the reform of Ethic and of Economic--Phenomenon and noumenon in

practical activity.

VIII

EXCLUSION OF OTHER SPIRITUAL FORMS

The system of the spirit--The forms of genius--Inexistence of a fifth

form of activity--Law; sociality--Religiosity--Metaphysic--Mental

imagination and the intuitive intellect--Mystical Aesthetic--Mortality

and immortality of art.

INDIVISIBILITY OF EXPRESSION INTO MODES OR GRADES AND CRITIQUE OF

RHETORIC

The characteristics of art--Inexistence of modes of expression--

Impossibility of translations--Critique of rhetorical categories--

Empirical meaning of rhetorical categories--Their use as synonyms

of the aesthetic fact--Their use as indicating various aesthetic

imperfections--Their use as transcending the aesthetic fact, and

in the service of science--Rhetoric in schools--Similarities of

expressions--Relative possibility of translations.

AESTHETIC SENTIMENTS AND THE DISTINCTION BETWEEN THE BEAUTIFUL AND THE

UGLY

Various meanings of the word sentiment--Sentiment as activity--

Identification of sentiment with economic activity--Critique of

hedonism--Sentiment as concomitant of every form of activity--Meaning

of certain ordinary distinctions of sentiments--Value and disvalue:

the contraries and their union--The beautiful as the value of expression,

or expression without adjunct--The ugly and the elements of beauty that

constitute it--Illusion that there exist expressions neither beautiful

nor ugly--Proper aesthetic sentiments and concomitant and accidental

sentiments--Critique of apparent sentiments.

CRITIQUE OF AESTHETIC HEDONISM

Critique of the beautiful as what pleases the superior senses--Critique

of the theory of play--Critique of the theory of sexuality and of the

triumph--Critique of the Aesthetic of the sympathetic--Meaning in it of

content and of form--Aesthetic hedonism and moralism--The rigoristic

negation, and the pedagogic negation of art--Critique of pure beauty.

XII

THE AESTHETIC OF THE SYMPATHETIC AND PSEUDO-AESTHETIC CONCEPTS

Pseudo-aesthetic concepts, and the Aesthetic of the sympathetic--

Critique of the theory of the ugly in art and of its surmounting--

Pseudo-aesthetic concepts appertain to Psychology--Impossibility of

rigorous definitions of these--Examples: definitions of the sublime,

of the comic, of the humorous--Relation between those concepts and

aesthetic concepts.

XIII

THE SO-CALLED PHYSICALLY BEAUTIFUL IN NATURE AND IN ART

Aesthetic activity and physical concepts--Expression in the aesthetic

sense, and expression in the naturalistic sense--Intuitions and

memory--The production of aids to memory--The physically beautiful--

Content and form: another meaning--Natural beauty and artificial

beauty--Mixed beauty--Writings--The beautiful that is free and that

which is not free--Critique of the beautiful that is not free--

Stimulants of production.

XIV

ERRORS ARISING FROM THE CONFUSION BETWEEN PHYSIC AND AESTHETIC

Critique of aesthetic associationism--Critique of aesthetic physic--

Critique of the theory of the beauty of the human body--Critique of

the beauty of geometrical figures--Critique of another aspect of the

imitation of nature--Critique of the theory of the elementary forms of

the beautiful--Critique of the search for the objective conditions of

the beautiful--The astrology of Aesthetic.

THE ACTIVITY OF EXTERNALIZATION. TECHNIQUE AND THE THEORY OF THE ARTS

The practical activity of externalization--The technique of

externalization--Technical theories of single arts--Critique of the

classifications of the arts--Relation of the activity of externalization

with utility and morality.

XVI

TASTE AND THE REPRODUCTION OF ART

Aesthetic judgment. Its identity with aesthetic reproduction--

Impossibility of divergences--Identity of taste and genius--Analogy

with the other activities--Critique of absolutism (intellectualism) and

of aesthetic relativism--Critique of relative relativism--Objections

founded on the variation of the stimulus and of the psychic disposition--

Critique of the distinction of signs as natural and conventional--The

surmounting of variety--Restorations and historical interpretation.

XVII

THE HISTORY OF LITERATURE AND OF ART

Historical criticism in literature and art. Its importance--Artistic and

literary history. Its distinction from historical criticism and from the

aesthetic judgment--The method of artistic and literary history--Critique

of the problem of the origin of art--The criterion of progress and

history--Inexistence of a single line of progress in artistic and

literary history--Errors in respect of this law--Other meanings of

the word "progress" in relation to Aesthetic.

XVIII

CONCLUSION: IDENTITY OF LINGUISTIC AND AESTHETIC

Summary of the inquiry--Identity of Linguistic with Aesthetic--

Aesthetic formulation of linguistic problems. Nature of language--

Origin of language and its development--Relation between Grammatic

and Logic--Grammatical categories or parts of speech--Individuality

of speech and the classification of languages--Impossibility of a

normative Grammatic--Didactic organisms--Elementary linguistic

elements, or roots--The aesthetic judgment and the model language--

Conclusion.